Deanna Shoemaker
Biographic Data
| ID | 4078639 |
|---|---|
| NAME | Deanna Shoemaker |
| GIVEN NAMES | Deanna |
| FAMILY NAME | Shoemaker |
| SIGNATURE | SHOEMAKER D |
| AFFILIATIONS | Monmouth College |
| ORCID | 0000-0003-1232-4283 |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 10 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 2 |
Listening and becoming through sound: Audio autoethnographic collaboration as critical communication pedagogy
This performative, dialogic essay and experimental performance in sound for 2+ voices explores collaboration through audio as an embodied and emergent critical communication pedagogy. We frame two audio projects as inherently pedagogical forms of creative inquiry while evoking the uncertainty, joy, and chaos of our evolving processes on the page and in aural resonances. Sound-based collaborations as critical communication pedagogy offer an intima…
Stepping Into Prison: Communication Activism and Pedagogy Beyond Classrooms
Autoethnographic methods are used to examine and reflect on my experiences over seven years as a volunteer participant and co-facilitator of communication-based workshops in prison settings. Framing practice-based discoveries as engaged scholarship, I consider the potential impact of immersive, embodied co-learning processes with inmates and the ways in which scholars, artists, and activists can help bridge divides between prisons, communities, a…
Hauntings: Marking flesh, time, memory
This collaborative performance explores themes of decay, loss, desire, and transformative discovery through the aging female body. Weaving soundscapes from everyday life, acts of physical endurance, photographs of female-marked bodies embedded in natural settings and disguised in archetypal personas, and interactive performance, we invite audiences to consider how loss (of life, youth, culture, voice, visibility) calls us deeply into the fragile …
Kind of Blue (Music for the Muse): Re/playing Autoethnographic Stories through Music
Chris McRae's Miles Away from “The Cool” beautifully traverses complex mappings of place, time, memory, music, and the politics of representation. Performing powerful distillations of research and nuanced readings of Miles Davis's autobiography and music while weaving his own and Davis's life stories together, McRae urges us to “consider the spaces between the destinations, the stories, the music. You've got to listen.” Listening to these absence…
Mamafesto! (Why Superheroes Wear Capes)
This auto-ethnographic solo performance about being a mother and tenure-track professor is intended to inspire dialogue about the complex and sometimes impossible “balancing acts” required of mothers who work full-time and to manifest positive social change for all caregivers
Queer Punk Macha Femme: Leslie Mah's Musical Performance in Tribe 8
This essay analyzes the musical performances of Leslie Mah, biracial lead guitarist and backup vocalist for the legendary all-female, queercore punk band Tribe 8, whose members broke up in 2005 after fifteen years together. Inspired by the recent turn in performance studies toward studies of music as performance, this work employs multiple methods and objects to get at the complex totality of popular music's performativity. Mah's macha femme pers…
Pink Tornados and Volcanic Desire: Lois Weaver's Resistant ‘Femme(nini)tease’ in “Faith and Dancing: Mapping Femininity and Other Natural Disasters”
This essay examines performance artist Lois Weaver's solo show "Faith and Dancing: Mapping Femininity and Other Natural Disasters" as an example of the lesbian femme's ability to drag and resist heteronormative femininity via queer desire. Weaver's performance is contextualized within her longstanding collaborative work in Split Britches theater company to reveal and trouble the femme's "dilemma" of invisibility without the butch (Peggy Shaw) by …
Queer Punk Macha Femme: Leslie Mah's Musical Performance in Tribe 8
This essay analyzes the musical performances of Leslie Mah, biracial lead guitarist and backup vocalist for the legendary all-female, queercore punk band Tribe 8, whose members broke up in 2005 after fifteen years together. Inspired by the recent turn in performance studies toward studies of music as performance, this work employs multiple methods and objects to get at the complex totality of popular music's performativity. Mah's macha femme pers…
Pink Tornados and Volcanic Desire: Lois Weaver's Resistant ‘Femme(nini)tease’ in “Faith and Dancing: Mapping Femininity and Other Natural Disasters”
This essay examines performance artist Lois Weaver's solo show "Faith and Dancing: Mapping Femininity and Other Natural Disasters" as an example of the lesbian femme's ability to drag and resist heteronormative femininity via queer desire. Weaver's performance is contextualized within her longstanding collaborative work in Split Britches theater company to reveal and trouble the femme's "dilemma" of invisibility without the butch (Peggy Shaw) by …
Hauntings: Marking flesh, time, memory
This collaborative performance explores themes of decay, loss, desire, and transformative discovery through the aging female body. Weaving soundscapes from everyday life, acts of physical endurance, photographs of female-marked bodies embedded in natural settings and disguised in archetypal personas, and interactive performance, we invite audiences to consider how loss (of life, youth, culture, voice, visibility) calls us deeply into the fragile …
Mamafesto! (Why Superheroes Wear Capes)
This auto-ethnographic solo performance about being a mother and tenure-track professor is intended to inspire dialogue about the complex and sometimes impossible “balancing acts” required of mothers who work full-time and to manifest positive social change for all caregivers
Pink Tornados and Volcanic Desire: Lois Weaver's Resistant ‘Femme(nini)tease’ in “Faith and Dancing: Mapping Femininity and Other Natural Disasters”
This essay examines performance artist Lois Weaver's solo show "Faith and Dancing: Mapping Femininity and Other Natural Disasters" as an example of the lesbian femme's ability to drag and resist heteronormative femininity via queer desire. Weaver's performance is contextualized within her longstanding collaborative work in Split Britches theater company to reveal and trouble the femme's "dilemma" of invisibility without the butch (Peggy Shaw) by …
Queer Punk Macha Femme: Leslie Mah's Musical Performance in Tribe 8
This essay analyzes the musical performances of Leslie Mah, biracial lead guitarist and backup vocalist for the legendary all-female, queercore punk band Tribe 8, whose members broke up in 2005 after fifteen years together. Inspired by the recent turn in performance studies toward studies of music as performance, this work employs multiple methods and objects to get at the complex totality of popular music's performativity. Mah's macha femme pers…
Mamafesto! (Why Superheroes Wear Capes)
This auto-ethnographic solo performance about being a mother and tenure-track professor is intended to inspire dialogue about the complex and sometimes impossible “balancing acts” required of mothers who work full-time and to manifest positive social change for all caregivers
Kind of Blue (Music for the Muse): Re/playing Autoethnographic Stories through Music
Chris McRae's Miles Away from “The Cool” beautifully traverses complex mappings of place, time, memory, music, and the politics of representation. Performing powerful distillations of research and nuanced readings of Miles Davis's autobiography and music while weaving his own and Davis's life stories together, McRae urges us to “consider the spaces between the destinations, the stories, the music. You've got to listen.” Listening to these absence…
Hauntings: Marking flesh, time, memory
This collaborative performance explores themes of decay, loss, desire, and transformative discovery through the aging female body. Weaving soundscapes from everyday life, acts of physical endurance, photographs of female-marked bodies embedded in natural settings and disguised in archetypal personas, and interactive performance, we invite audiences to consider how loss (of life, youth, culture, voice, visibility) calls us deeply into the fragile …
Listening and becoming through sound: Audio autoethnographic collaboration as critical communication pedagogy
This performative, dialogic essay and experimental performance in sound for 2+ voices explores collaboration through audio as an embodied and emergent critical communication pedagogy. We frame two audio projects as inherently pedagogical forms of creative inquiry while evoking the uncertainty, joy, and chaos of our evolving processes on the page and in aural resonances. Sound-based collaborations as critical communication pedagogy offer an intima…
Stepping Into Prison: Communication Activism and Pedagogy Beyond Classrooms
Autoethnographic methods are used to examine and reflect on my experiences over seven years as a volunteer participant and co-facilitator of communication-based workshops in prison settings. Framing practice-based discoveries as engaged scholarship, I consider the potential impact of immersive, embodied co-learning processes with inmates and the ways in which scholars, artists, and activists can help bridge divides between prisons, communities, a…
Sociology (7 works) · Art (6 works) · Aesthetics (5 works) · Visual arts (4 works) · Art history (3 works) · Gender Studies (3 works) · Literature (3 works) · Theater, Performance, and Music History (3 works) · Theatre and Performance Studies (3 works) · Active listening (2 works)