Chris Mcrae
Biographic Data
| ID | 3887644 |
|---|---|
| NAME | Chris Mcrae |
| GIVEN NAMES | Chris |
| FAMILY NAME | Mcrae |
| SIGNATURE | MCRAE C |
| AFFILIATIONS | University of South Florida |
| ORCID | 0000-0002-5268-3240 |
| VERIFIED | Yes |
| TOTAL WORKS | 16 |
| TOTAL CITATIONS | 20 |
| AUTHOR COUNT | 16 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2009 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 2 |
Performing a departmental archive: Half a century of performance
Listen, performance: Dropping a note for a future performer
Collaborative performances of and toward survival in the communication classroom and beyond: An inter-institutional performance forum
This forum features collaborative performances comprised of graduate student and faculty contingencies representing various institutions: University of Kansas, Arizona State University, University of South Florida, and University of Denver. Drawing on lived experience through the vantage of instructor and/or of student, participants embody performances of survival in the communication classroom and beyond. In particular, participants draw on perf…
Embodied fragments: Embracing risk, failure, resistance, and pedagogical possibility
This video performance utilizes collage and assemblage to embody risk, failure, and possibility in the communication classroom as well as to explore how such embodiments function as disruptions to normative expectations. Informed by Amy Kilgard’s “pedagogy of chaos,” framework for “collage” the performers generate collaborative fragments of the classroom experience to speak with one another, with the audience, and as distinct, individual voices. …
(Re)sounding pedagogy: A themed issue on critical communication pedagogies of/for/in sound
In this Introduction, the Guest Editors situate this themed issue on (Re)Sounding Pedagogy within ongoing communication research interrogating voice, argumentation, race, and power. We also offer a description of how we work to make sense of some of the relationships among sound, pedagogy, and social contexts. We encourage you to engage playfully with our work and with the scholarly pieces, oral/aural and written, included in this issue. We provi…
Performing remote pedagogy: Reductions, omissions, and interventions
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 performance pedagogy, and Berlant & Stewart's (2019) “hundreds,” we craft an essay that is similarly scaled down, distilled, and splintered as a way to with resonating as well as dissonant experiences. For perhaps, in this moment, as we realize what is go…
Wunderkammer: The performance showcase as critical performative pedagogy
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 and practices. Wunderkammer (cabinet of curiosities): A Performance Showcase radically actualizes critical performative pedagogy by attending to, collecting, and curating the embodied labor of the performance classroom and curriculum. We include a descr…
Now that the audience is assembled
The page is set for an imaginative and almost unimaginable musical performance and sonic exploration. An uncertain instrument, an inquisitive musician, and a broadly assorted audience fill the perf
Engagement Beyond Interruption: A Performative Perspective on Listening and Ethics
This article presents an understanding of listening as a performative and pedagogical act. Moving beyond existing theories of listening in communication and education studies that frame listening as a selective and incremental act, this article considers listening in terms of a performance studies and critical education studies perspective. An argument for listening as an embodied act is developed through the consideration of 3 classroom interact…
Collaborative Directing and Teaching
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…
Miles Away from “The Cool”
This artist's statement and excerpts from the performance script present an autobiographical reading of the music and autobiography of the trumpet player Miles Davis. The performance considers questions about dialogic performance, ethics, location, pedagogy, and the role of the student as listener. The responses to this performance consider the ethical implications of the performance, the generative possibilities of Davis's stories and music, and…
Listening, Playing, and Learning
This story of coming to performance studies and performance highlights the ways listening, playing, and learning shaped my experience of and interest in joining the conversations and communities found in and generated by performance studies
From 'All of Me' to 'All of You: Listening for Aura
In this essay, I argue for a hearing of and listening for Benjamin's concept of aura as an attributed and aural quality that is situated in the various intertwining contexts of performers, performances, and audience members. As an example, I consider specifically how the music performance of trumpet player Miles Davis comes to life for me in the spaces and the gaps that surround the various contextual clues I gather. This essay offers an example …
Listening to a Brick: Hearing Location Performatively
In this essay, the conception of listening as a performative act is offered as a critical, reflexive, and embodied act of engaging with and learning from the other. The example of a specific performance of trumpet player Miles Davis provides a starting place for considering the ways we might performatively listen to life stories, geographic locations, and music. This consideration of what it might mean to listen performatively to a life story in …
Singing 'I Will Survive: Performance as Evolving Relationship
The 1978 disco hit 'I Will Survive,' made popular by Gloria Gaynor, has personal significance for me as a listener and as a performer. In this essay, I trace my evolving relationship with this song from my childhood as I sang and listened to the song with my mother to my later performances of the song as a musician in different bands. In telling my story, I look to my various relationships with this song to argue for an analysis of music that com…
Truth Troubles
truth" is an issue of public discussion, research, and everyday performance. Processes of navigating truth, however, are obscure and often unknown. In this project, the authors highlight truth(s) of written life texts. They conceive of truth as a rather than the "rhetorical device" to use for evaluating personal research and believe that demanding factual, historical truth-of-life research is faulty and problematic. By illustrating how genre, tru…
Truth Troubles
truth" is an issue of public discussion, research, and everyday performance. Processes of navigating truth, however, are obscure and often unknown. In this project, the authors highlight truth(s) of written life texts. They conceive of truth as a rather than the "rhetorical device" to use for evaluating personal research and believe that demanding factual, historical truth-of-life research is faulty and problematic. By illustrating how genre, tru…
Wunderkammer: The performance showcase as critical performative pedagogy
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 and practices. Wunderkammer (cabinet of curiosities): A Performance Showcase radically actualizes critical performative pedagogy by attending to, collecting, and curating the embodied labor of the performance classroom and curriculum. We include a descr…
Listening to a Brick: Hearing Location Performatively
In this essay, the conception of listening as a performative act is offered as a critical, reflexive, and embodied act of engaging with and learning from the other. The example of a specific performance of trumpet player Miles Davis provides a starting place for considering the ways we might performatively listen to life stories, geographic locations, and music. This consideration of what it might mean to listen performatively to a life story in …
Singing 'I Will Survive: Performance as Evolving Relationship
The 1978 disco hit 'I Will Survive,' made popular by Gloria Gaynor, has personal significance for me as a listener and as a performer. In this essay, I trace my evolving relationship with this song from my childhood as I sang and listened to the song with my mother to my later performances of the song as a musician in different bands. In telling my story, I look to my various relationships with this song to argue for an analysis of music that com…
Collaborative performances of and toward survival in the communication classroom and beyond: An inter-institutional performance forum
This forum features collaborative performances comprised of graduate student and faculty contingencies representing various institutions: University of Kansas, Arizona State University, University of South Florida, and University of Denver. Drawing on lived experience through the vantage of instructor and/or of student, participants embody performances of survival in the communication classroom and beyond. In particular, participants draw on perf…
Embodied fragments: Embracing risk, failure, resistance, and pedagogical possibility
This video performance utilizes collage and assemblage to embody risk, failure, and possibility in the communication classroom as well as to explore how such embodiments function as disruptions to normative expectations. Informed by Amy Kilgard’s “pedagogy of chaos,” framework for “collage” the performers generate collaborative fragments of the classroom experience to speak with one another, with the audience, and as distinct, individual voices. …
Miles Away from “The Cool”
This artist's statement and excerpts from the performance script present an autobiographical reading of the music and autobiography of the trumpet player Miles Davis. The performance considers questions about dialogic performance, ethics, location, pedagogy, and the role of the student as listener. The responses to this performance consider the ethical implications of the performance, the generative possibilities of Davis's stories and music, and…
Truth Troubles
truth" is an issue of public discussion, research, and everyday performance. Processes of navigating truth, however, are obscure and often unknown. In this project, the authors highlight truth(s) of written life texts. They conceive of truth as a rather than the "rhetorical device" to use for evaluating personal research and believe that demanding factual, historical truth-of-life research is faulty and problematic. By illustrating how genre, tru…
Singing 'I Will Survive: Performance as Evolving Relationship
The 1978 disco hit 'I Will Survive,' made popular by Gloria Gaynor, has personal significance for me as a listener and as a performer. In this essay, I trace my evolving relationship with this song from my childhood as I sang and listened to the song with my mother to my later performances of the song as a musician in different bands. In telling my story, I look to my various relationships with this song to argue for an analysis of music that com…
Listening to a Brick: Hearing Location Performatively
In this essay, the conception of listening as a performative act is offered as a critical, reflexive, and embodied act of engaging with and learning from the other. The example of a specific performance of trumpet player Miles Davis provides a starting place for considering the ways we might performatively listen to life stories, geographic locations, and music. This consideration of what it might mean to listen performatively to a life story in …
Listening, Playing, and Learning
This story of coming to performance studies and performance highlights the ways listening, playing, and learning shaped my experience of and interest in joining the conversations and communities found in and generated by performance studies
From 'All of Me' to 'All of You: Listening for Aura
In this essay, I argue for a hearing of and listening for Benjamin's concept of aura as an attributed and aural quality that is situated in the various intertwining contexts of performers, performances, and audience members. As an example, I consider specifically how the music performance of trumpet player Miles Davis comes to life for me in the spaces and the gaps that surround the various contextual clues I gather. This essay offers an example …
Collaborative Directing and Teaching
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…
Miles Away from “The Cool”
This artist's statement and excerpts from the performance script present an autobiographical reading of the music and autobiography of the trumpet player Miles Davis. The performance considers questions about dialogic performance, ethics, location, pedagogy, and the role of the student as listener. The responses to this performance consider the ethical implications of the performance, the generative possibilities of Davis's stories and music, and…
Engagement Beyond Interruption: A Performative Perspective on Listening and Ethics
This article presents an understanding of listening as a performative and pedagogical act. Moving beyond existing theories of listening in communication and education studies that frame listening as a selective and incremental act, this article considers listening in terms of a performance studies and critical education studies perspective. An argument for listening as an embodied act is developed through the consideration of 3 classroom interact…
Now that the audience is assembled
The page is set for an imaginative and almost unimaginable musical performance and sonic exploration. An uncertain instrument, an inquisitive musician, and a broadly assorted audience fill the perf
Wunderkammer: The performance showcase as critical performative pedagogy
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 and practices. Wunderkammer (cabinet of curiosities): A Performance Showcase radically actualizes critical performative pedagogy by attending to, collecting, and curating the embodied labor of the performance classroom and curriculum. We include a descr…
(Re)sounding pedagogy: A themed issue on critical communication pedagogies of/for/in sound
In this Introduction, the Guest Editors situate this themed issue on (Re)Sounding Pedagogy within ongoing communication research interrogating voice, argumentation, race, and power. We also offer a description of how we work to make sense of some of the relationships among sound, pedagogy, and social contexts. We encourage you to engage playfully with our work and with the scholarly pieces, oral/aural and written, included in this issue. We provi…
Performing remote pedagogy: Reductions, omissions, and interventions
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 performance pedagogy, and Berlant & Stewart's (2019) “hundreds,” we craft an essay that is similarly scaled down, distilled, and splintered as a way to with resonating as well as dissonant experiences. For perhaps, in this moment, as we realize what is go…
Collaborative performances of and toward survival in the communication classroom and beyond: An inter-institutional performance forum
This forum features collaborative performances comprised of graduate student and faculty contingencies representing various institutions: University of Kansas, Arizona State University, University of South Florida, and University of Denver. Drawing on lived experience through the vantage of instructor and/or of student, participants embody performances of survival in the communication classroom and beyond. In particular, participants draw on perf…
Embodied fragments: Embracing risk, failure, resistance, and pedagogical possibility
This video performance utilizes collage and assemblage to embody risk, failure, and possibility in the communication classroom as well as to explore how such embodiments function as disruptions to normative expectations. Informed by Amy Kilgard’s “pedagogy of chaos,” framework for “collage” the performers generate collaborative fragments of the classroom experience to speak with one another, with the audience, and as distinct, individual voices. …
Performing a departmental archive: Half a century of performance
Listen, performance: Dropping a note for a future performer
Sociology (15 works) · Art (12 works) · Aesthetics (9 works) · Philosophy (9 works) · Visual arts (9 works) · Philosophy (8 works) · Psychology (8 works) · Epistemology (7 works) · Anthropology (6 works) · Computer Science (6 works)